Arrau on Music and Performance (Dover Books on Music) (英語) ペーパーバック – 2011/3/17
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Awarded an ASCAP Deems Taylor Award in 1983 for excellence in writing about music, this volume of candid conversations with the late Claudio Arrau is both a subtle portrait of one of the world's great concert artists and a vivid exploration of his unique and intensely felt beliefs about music and piano performance.
Upon its initial appearance, critical acclaim for this work included rave reviews from The New Yorker ("One of the best books about a performing artist ever written. . . . It's an enthralling, free-flowing, but shapely compound of reminiscences and of observations on music."), and New York Magazine ("Something of a miracle, a book that actually explores the life and development of a living musician by dealing seriously with important musical issues. Each chapter sets a biographical context for a conversation . . . a fascinating and valuable book.").
In addition to his conversations with Arrau, former New York Times critic Joseph Horowitz has included discussions with four renowned musicians who worked with the celebrated pianist: Philip Lorenz, Daniel Barenboim, Garrick Ohlsson, and Sir Colin Davis. The result is an eminently readable portrait of a great artist, presented in an intimate, conversational format — sure to fascinate pianists, musicians, and anyone seriously interested in music and the piano.
Joseph Horowitz is also the author of Understanding Toscanini, The Ivory Tread, Wagner Nights: An American History, and The Post-Classical Predicament.
." . . a fascinating and valuable book."商品の説明をすべて表示する
Arrau speaks freely about his views on music and his personal life. I really enjoyed this book.
I only wish that the interviewer had pursued some of the topics in this book with follow up questions. For example, at one point Arrau states: "Europe was like a museum", "Paderewski was not a great pianist. A very famous one, but not great." I would have liked if the interviewer could have followed up on these topics so that I can understand Arrau's point of view.
Also, I would have questioned Arrau more on Rachmaninoff. Arrau states: "But I thought the sound [Rachmaninoff's] was not very good. And from the standpoint of interpretation, it was appalling. He [Rachmaninoff] didn't seem to care at all what the composer meant." Which composers is Arrau talking about? What made Rachmaninoff's interpretations "appalling"? Which specific compositions?
Lastly, the author states: "though he [Arrau] regards Rachmaninoff as a shallow composer". When did this conversation take place? What made Rachmaninoff's works "shallow" in Arrau's eyes?
This book is very good overall, rich in details, and I definitely recommend it to any music lover.
Charles Henri D.
A very good and accessible read. I particularly enjoyed the interviews with artists such as Garrick Ohlsson and Daniel Barenboim, among others, at the end of the book.